(Quiriquire, Venezuela, 1937 - Paris, France, 2019)
Francisco Salazar’s brief period through the Architecture Faculty of the Central University of Venezuela derived in an interest, throughout his entire career, in spatial relationships and pure forms. By the end of the 1960s he began to develop his own path in kinetic art, focusing then on luminous and optical phenomena. The exploration of ruptures and continuities in space and their respective impacts upon perception of spectators led him to choose corrugated carton as one of his main work materials, which allowed him to establish tridimensional reticular patterns as base.
Painting, as well as the reliefs produced by cutting the carton helped generate various interplays with light, which Salazar transformed into kinetic dynamics, like vibrations given in perception. The diverse interactions between shadows, the repetition of patterns, and the space where the work is placed translate into virtual movements anchored upon abstraction. With this, the artist sought to highlight the connections between the notions of empty and full space; his preference for monochromatism emerged from the necessity to modulate light as precisely as possible in order to radically differentiate between both kinds of space at the same time that he brought them together.
Construction du Vide Nº3, 1987 Corrugated cardboard, wood and acrylic paint 19 7/10 × 19 7/10 in (50 x 50 cm) Unique
Number 820, 2002 Corrugated cardboard, wood and acrylic paint 39 2/5 × 39 2/5 in (100 x 100 cm), Unique
Integracion 1015, 1980 Cardboard, 14 × 14 in (35.5 × 35.5 cm), Unique